About what a pathos of a literary work is. What is Paphos in the literature and ordinary life

Pafos is closely connected with the idea (Greek Pathos - feeling, passion) - inspiration, passionate experience of the mental lift caused by the idea or event. In Pafos, the thought and feeling make up a single whole. Ari Intytel under Paphos understood the passion that encourages the writing of the work. By. Belinsky, Paphos is the "idea - passion" "from here," notes. A. Tkachenko, - the conceptual tautology takes its beginning: you are determined through pathos, and Paphos - through the idea. The apogee of the departure from the initial essence of the concept of Paphos can be considered the approval, According to which all types of pathos are created by the contradictions of social characters, I ki writers are comprehended on the basis of ideological positions. These positions include partialness of public thinking of writers and are due. Classity of their worldview "a. Tkachenko believes that the authors textbook A "Introduction to. Literary criticism" edited. G. Pospelova, calling such types of pathos as heroic, dramatic, tragic, satirical, humorous, sentimental, romantic, do not respect the unity of other classification criteria. Drama, tragic, satyric is associated with genres, and sentimental and romantic - literary directions. Pafos, according to. A. Tkachenko, is excessive rhetorical theatricality. It proposes to use the term "tonality" by the type of tonality is the patience. In addition to the pathetic tonality, lyric with such subspecies, like sentimentality, romanticism, humorists Ching, Melancholy; dramatic with tragic, satirical, sarcastic, sentimental, romantic subspecies; Epic with subspecies: heroic, descriptive, fantastic erids; Epіchna s pivydami: HeroїCHNA, described, fantastic.

Each type of tonality has its shades. So, in lyrics, the tonality can be nostalgic, melancholic, mathematical. Positive emotions are associated with major tonality. According to. A. Tkachenko, Paphos is more infernal, deliberate than tonality.

Heroic Paphos

The heroic pathos is the heroic of the reality itself - the activities of people who overcome the element of nature are struggling with the reactionary forces of society, defending freedom and independence. Fatherland. Heroic Za Yama is an important place in mythology. Ancient. Greece, where along with the images of the gods there are images of heroes, carrying out majestic feats, cause admiration and the desire to imitate them. Such. Achilles. Patrole. Hector from the "Iliad" of Homer, the heroes of the myths. Prometheus,. Hercules. Perserakl,. Perseus.

Italian philosopher. D. Vico in the work "The foundations of the new science on the general nature of Nations wrote that heroism is characterized only for the initial state of development of humanity -" age of heroes "in his opinion, each people take three stages - theocratic, aristocratic and democratic. The first stage corresponds to the "age of the gods", this period when people associate their history with mythology, presenting that they manage the gods. The third stage is the "age of people" between the "age of the gods" and "age of people" is the "age of heroes", which reign in the aristocratic republics. Vico believed that these heroes are coarse, wild, low-cultural, cruel, with an unlimited Passionamitzi Hero - Rough, Diki, Malokuntsnі, Zhorstoki, with difficult addies.

According to. Hegel, the heroic provides free self-determination of the individual, is not subject to the laws. The general tasks of the hero performs as their personal. Hegel believed that heroic activity was inherent and people who live in the "age of heroes", i.e. in a good period. When the state reaches a significant development, it comes, according to him, "prosaic ordered reality", "each individual receives only a certain and limited part in the work of a whole" and "the state as a whole cannot be trusted by arbitrariness, strength, masculinity, courage, and understanding A separate personality, Khorobrostі, І Rosuminnunya Okramino Ozzle. "

Hegel is the right that the "age of heroes" was the historical stage of the development of national states when heroism could be detected directly and freely. But with the emergence of states heroism, contrary to the statement. GSGS lay, does not disappear, but changes its character, becomes conscious and morally responsible. So, the graph. Roland "Song about. Roland" dies for the freedom of native. France. However, the state may not only be progressive, but also a reaction force that impedes national development, hence the need for the anti-state activities of progressive people aimed against the suspended power. This struggle requires significant heroic Hero-Hero Susilles.

Starting from the era. Renaissance, national historical heroic is closely related to the formation of feudal states, and subsequently - bourgeois nations

In the sociology of the 20th century there are two opposite trends: one is the hoof the heroic personality, the second eliminates the possibility of a heroic personality in modern society. Englishman. Rulen wrote that the heroes are a product of social myths. According to the American sociologist. Daniel. Bristin, today the hero turns into a celebrity, which is the antipode of the heroev.

Each era characterizes its type of heroism: either the liberation impulse, or self-sacrifice, or just sacrifice in the name of universal values. Heroic can manifest themselves through the beautiful, elevated, trak agicine and comortion.

Paphos drama

Like the heroic, drama will generate contradictions of life. Dramaticism occurs when there is a high desire of people, and sometimes life threatens defeat or death. Dramatic events and situations can be generally natural and random, but only the first are themes of works. Hegel noted that art is interested primarily by the socio-historical nature of the lifetime of individuals depicted individuals.

When people lead acute political struggle, become victims of repression, consciously prepare for liberation wars, there are deep drama of actions and experiences of people. The writer can sympathize with the characters who were in the dramatic situation, such drama is ideologically affiring Paphos. It can and condemn the characters that are guilty of the emergence of a dramatic state. In the tragedy. Eschil "Persians" describes how to hit the Persian fleet in the conciliatory war against the Greeks. For. Eschil and. Ancient. Greece experienced by the Persians of Dramatic Events is an act of condemning the enemy, I encroached the freedom of the Greeks. Paphos of drama. There is a "word about the regiment. Igor" on the example. Igor, the author of the work shows that the princesses lead the princely interdisciplotry to the princess mіzhusobitsi.

In the story. M. Kotsyubinsky "Fata Morgana", in the novel. Balzaka "Father Gorio" Dramism arises due to social inequality. The drama of events and experiences may have ideologically affiring character. Such dwarm is characterized by the "Song of Roland", which shows the struggle of the Franksky troops. Karl V with Saracines and death. Roland and. Oliver in. Roncilvansky gorgelisser in. Rons_lvansky gorisy.

Often drama characterize personal relationships between people. The heroine of the novel. L. Tolstoy "Anna. Karenina", which did not experience happiness in family life, first recognized him with. Vronsky, left her husband broke with the hypocritical world, took over the severity of the estate Wignannants, but did not stand it and committed suicide life.

Sentimentality

Sentimentality as pathos needs to be distinguished from sentimentalism as directions. Theorist of German sentimentalism. F. Schiller in the article

"On naive and sentimental poetry" (1796), the founder of sentimental poetry called the Roman poet. Horace, extols in his. Tibur "Calm luxury" f. Schiller calls. Horace by post "Ovvice Enoi and spoiled era" Schiller wrote that sentimentality arose when the naive life with his moral integrity and purity was revealed into the past or seeing periphery of social relations. For me, the emergence of the sentimental worldview was necessary that there was dissatisfaction with his shortcomings in society and that the progressive forces were pleasure in the desire for morally clean and cycl of Inemi life, it goes in the passenger lifestyle, yak.

G. Pospelov believes that talking about the sentimental pathos of works. Horace, "bullics" Virgin, Idyllius. Foocrita, story. The foal "Daphnis and. Chloe" is not worth it, because they have no "emotional reflection themselves Agiv and even more - their authors" The first glimpses of sentimentality he finds in the works of Provencal Troubadurov (XII B). Paphos sentimentality brightly manifested itself in the literature of the XVIII century her gear. OEM was a simple, modest, sincere person who retained the remnants of patriarchal. This hero became the subject of artistic reflexes becoming the subject of artistic reflex.

The origins of a sentimental feeling in Ukrainian literature reach the XVII-XVIII centuries, they originate in the baroque era. Sentimentalist writers penetrate sympathy for heroes that do not find Garm. Monet in real life they are far from social and political conflicts, but close to nature, their sensitivity comes from the "heart" for heroes. I. Kotlyarevsky ("Natalka. Poltavka") ,. Mr. Kvitka-basicanenko. There is. The comb ("Tchaikovsky") are characterized by the moral beliefs, the desire to overcome their suffering, the internal staicism of their state, internal state of state.

The formation of Ukrainian sentimentalism was a noticeable influence of the Cordinarian character of Ukrainian philosophy "Unlike the Western European philosophical tradition, where the" heart "had never had an ontola oogical aspect, - notes. I. Limborsky, - in Ukrainian thinkers it is already since the times. G .. frying pan It acts as a source of all feelings and the instrument of knowledge that should be unconditionally trusting Dovіryti. "

In the textbook "Introduction in. Literary criticism" ed. Mr. Pospelova has such a definition of sentimental pathos: "This spiritual touchiness is caused by the awareness of morality in the characters of people socially humiliated or related to immoral privileged medium-sided hearth."

The conditions for the emergence of sentimental pathos exist in the literature of the XIX-XX centuries. A vivid example is a story. F. Dostoevsky "Poor People" His hero official. Girls are a poor, a small person who knows the employees for the fact that only rewrites paper. But he is proud, which honestly earns a piece of bread, considers himself a respectful citizen, highly appreciates his "ambition", his reputation, to defend himself from humiliating himself.

Pafos sentimentality is present in the works. Y. Fedkovich (Lyuba-Paguba),. P. Grabovsky ("Seam")

The ability to emotional reflection contributed not only sentimentality, but also romance

Romance

Sentimentality is the reflection of the dignity, the dignity, caused by the last life with his simplicity, moral perfection of relations and experiences. Romance is a reflective passion, addressed to the sublime, to the ideal. The word "romantic" (Franz Romantique) first appeared in English poetry and criticism in the middle of the XVIII in (Thomson, Collins) to define Paphos creativity creativity.

Romance is most often related to the idea of \u200b\u200bnational independence, civil liberty, equality and fraternity of peoples, this is a raised mood.

O. Veselovsky called Romantic Writers with enthusiasts. Romance is the enthusiasm of emotional aspirations and feelings. She appeared in the Epoch of the Middle Ages, the works of the legendary knights, L Love Lyrics penetrate it. Petrarki, Roman. Cervantes "Don. Kiheot", tragedy. Shakespeare "Romeo and. Juliet" Romantic Paphos is present in the works of sentimentalists, romantics, realists and. Neoromanticalіstiv і neoromantikiv.

Y. Kuznetsov determines the romantic pathos as "a dreamily elevated mood, which is inherent in the feelings of feelings, a sharpened experience of unusual events, the process of activity, opposed by the ordinaryness"

Humor and satire

Humor (Lat Humor - moisture) is a reflection of a funny, fun in life phenomena and character, the manifestation of an optimistic, cheerful attitude to reality, the celebration of healthy forces over the backwardness, without promising. Humor may be soft, benevolent, sad, sarcastic, ulcer, vulgar "object of humor, - by observation. Yu. Kuznetsov, - It appears not a holistic phenomenon, an object or face, and separate and flaws in general positive phenomena, inadequate specific situations of human proven Links ...

Humor, including contradictions and contrasts of life, is created before the metaphor, and not by comparison, which allows you to disclose an elevated in a limited, small fact, so in artistic terms, it is not so critical as optimistic color;

Humor is mainly a manifestation of an optimistic, humanistic attitude to reality, the triumph of healthy forces over the bladder, unpromising. According to. Voltaire, satire must be barbed and at the same time in the fun. The sting of satire is directed against socially significant ugly facts. The satire object is a socio-comic, dangerous for society and a person, the object of humor - elementary-comic. Laughs in satire and sk worker has different tones, various levels of social and artistic understanding of life phenomena. In one product, humorous and satirical tonality coexist. In humor and satire, such types of comic, as wit, irony, sarcasm, and methods such as Paphos, pun, caricature, parody, joke, hyperbrailer can be combined.

Paphos (Greek) - suffering, passion, excitement, inspiration. According to Aristotle - death or other tragic event that happens with the hero of the work, causing the viewer to compassion or fear that are then resolved in the qualary experience. The suffering to which the human actions led by a strong passion, resolving passion in suffering.

In modern literary criticism, pathos is defined as the leading emotional tone of the work, its emotional attitude.

Paphos is heroic, dramatic, tragic, satirical, romantic and sentimental.

Heroic Paphos - reflects the greatness of a person who takes a feat in the name of a common cause. At the same time, the actions of heroes must certainly be associated with personal risk, personal danger, conjugate with the real possibility of losing a person of some significant values \u200b\u200b- up to life itself. Another condition of the manifestation of heroic - free will and the person's initiative: forced actions, as the hegel pointed out, cannot be heroic. The desire to remake the world, whose device seems not-fair, or the desire to defend the world perfect (as well as close to the ideal and the apparent one) is the emotional basis of the heroic. Examples: In ancient Greek myths, these are images of heroes, or, as they were called in Greece, the heroes who commit unprecedented feats for the benefit of their people. This is Hercules with his twelve feming or Perseus, who cut off the head of the jellyfish. In Iliad, Homer - Achille, Patrole, Hector, famous in battles under Troy. In later works of folklore - historical songs, epic, warrior fairy tales, epic, military ones - in the center there is a mighty, fair warrior warrior, protecting his people from foreign invaders.

Dramatic Paphos - the author with a severe spiritual supervision and heartfelt sympathy depicts the suffering of his characters in the dramatism of their position, experiences, struggle. This drama is manifested in the experiences, conflicts of privacy, in the unpleasution of personal destiny, ideological "Spacemia". The author may and condemn his characters, to see in their suffering a fair retribution for the falsehood of the aspirations leading to the drama of the situation. Often, the impact of external circumstances creates in the consciousness of the character internal contradiability, the fight against himself. Then dramaticism deepens to tragedy. Example - "Running" Bulgakov.

The tragic pathos - in the ancient Greeks was associated with the Will of the Gods, the rocky predetermination of fate, in the power of which the whole life of people, or with the concept of the fault of the tragic heroes who violated some kind of higher law and paying for it. (for example, "ODIP" Sofokla). Paphos Tragism is a realization of loss, with the loss of irreparable, some important life values \u200b\u200b- human life, social, national or personal freedom, the possibility of personal happiness, cultural values, etc. The first condition of the tragic is the pattern of this conflict, such a situation when it is impossible to put up with its unresolvedness. Secondly, under the insoluability of the conflict, it is implied by the possibility of its prosperous permit - it is certainly associated with victims, with the death of certain indisputable humanistic values. Such, for example, the nature of the conflict in the "small tragedies" of Pushkin, the "thunderstorm" of the Ostrovsky, "White Guard" Bulgakov.

If the heroic pathos is always an ideological approval of the characters depicted, then the dramatic and tragic types of pathos can enter into them both their assertion and their denial. Satirical image of characters always carries a condemning ideological orientation.

Satyric pathos - indignant-mocking denial of certain parties to public life. Human characters and relationships become the subject of mocking comprehension and the corresponding image. Satyrian pathos arises in the process of generalizing emotional understanding of the comic inconsistency of the real void of the existence of characters subjective claims for significance. For example, the preliminary laudatory tone of the Gogolian image of the metropolitan social society, expresses its mocking, ironic attitude towards high-ranking people who make great importance to every trivia. It is a laughter "permeant", the deepening item, constitutes an integral property of satire. Authors who use Satyric Paphos in their works: Gogol, Griboedov, Saltykov-Shedry, Ilf and Petrov, Bulgakov.

Sentimental pathos. Sentimentality literally translated from French means sensitivity. In some situations, almost every person happens to be sentimentality - so, most of the normal people cannot pass indifferently by the suffering of a child, a helpless person or even an animal. But even if sentimental pity is aimed at the phenomena of the surrounding world, the personality respondent always remains in the center - the dying, compassioning. At the same time, the sympathy of another in sentimentality is fundamentally inactivity, it acts as a psychological substitute for real assistance (such, for example, artistically pronounced sympathy in the peasant in the works of Radishchev and Nekrasov). This is spiritual uncertainty caused by the awareness of moral advantages in the characters of people, socially humiliated or related to the immoral privileged medium. One of the most characteristic sentimental works is the story Goethe "suffering a young verteter". Pafos is created by the image of the experiences of the young man disappointed in the empty and vulnest life of the urban noble-rank society. Werker is looking for satisfaction in simple rural life, in sensitive love of nature, in helping the poor. His touching love for Lotte is hopeless - Lott is married. And because of the dramatic hopelessness of his position, the impracticalness of their sublime ideal Werker cums the life of suicide. Another example: "mu-mu" Turgenev.

Romantic pathos - the rise of romantic self-consciousness is caused by aspiration to the ideal of civil liberties. This is an enthusiastic state of the soul caused by the desire for an exalted ideal. The romantic hero is always tragic, he does not accept reality, is in the disaster with himself, he is a rebellion and a victim. Romantic heroes - Nature spiritually rich, who can not prove themselves to fully, for life puts them borders, it undoubtedly expelled them from society. For romanticism, a rapid manifestation of feelings is characteristic. The conflict with the outside world and the full rejection of it, oppose the highest, ideal world created by the creative imagination of the artist, is the basis of the worldview of romantics. For example, Early Gorky denied the warmerness of his surrounding life, dreamed of strong, volifest people, about fighters. In contrast to gray, mesh, the world of his stories is bright, exotic. The action takes place in an unusual setting, surrounded by romantic elements. In the heroes of works more symbolic than typical. "Song about falcon," Song about the petrel "," Danko ".

Romance relates to the heroic desire for an exalted ideal. But if the heroic is a sphere of active action, then romance is an area of \u200b\u200bemotional experience and the desire that does not go into force. The objective basis of romance is such situations in personal and public life, when the implementation of the sublime ideal is either impossible in principle, or is impracticable at this historical moment. However, on such an objective basis, not only the pathos of romance, but also tragedy, and irony, and satire, so that decisive in Romantics is still a subjective moment, the moment of the experience of the faint break between the dream and reality is. The natural world of romance is a dream, fantasy, golden, so romantic works are so often treated either by the past ("Borodino" Lermontov), \u200b\u200bor to something fundamentally not an existing ("Aelita" A.N. Tolstoy).

What is the difference between sentimental and romantic pathos? Sentimentality is a fortitude facing a discovered, leaving the past of life with its simplicity and moral unspokenity of relationships and experiences. Romance is an enthusiasm facing this or another "ultra-suffer" ideal and its incarnations.

Paphos in Maskulture. In the epic cinema, Paphos is a vital element. Without him, the viewer will be purple, killed the epic hero, or he is overcome. It is necessary that the Popcorn's empetizer ran goosebumps from the severity and epicness of Mesilov on the screen. For this, there are pathetic moments: sublime monologues, in which each word should be written with a capital letter, accompanied by a supervisory symphonic music. And if the hero dies, it does not bloom with blood and Kochena, but will pronounce a farewell monologue, closes his eyes and cut his head sharply, as if he was pulled out. Patus moments are necessarily accompanied by pathetic phrases: "Isle Bope!", "Come and take!"; "Our arrows will close the sun from you - we will fight in the shade!"; "Who will come to us with a sword, from the sword and will die!" etc.

Reviews

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All poured?
Okay.

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Paphos, I will tell you and rushing.
And, of course, weak women await the heroic pathos hero.
And something else. I do not know, but something is romantic. Maybe sentimental. In the end, dramatic ...
But only not a corruption scandal in bed!
And when it occurs, the literary critic shows the indignant-mocking denial of the hero ...
...

And if it is easier to talk, then for love!
Well, for these and for those!

Pafos is The term that had various values \u200b\u200bin the history of art. In the ancient aesthetics, Paphos denotes a passion or condition associated with strong excitement. For Aristotle in Nikomakhova Ethics (4th century BC) paphos is the property of the soul, passion in the broad sense of the word; In accordance with this, as indicated in its "rhetoric", the good speech should be "pathetic", i.e. affect feeling. Gradually, the center of gravity in the interpretation of Paphos moved from a certain mental experience on those properties of an artistic image, which this experience is caused and made possible: the concept of "pathos" at different times was associated with the style characteristic, the hero, the category of the elevated (anonymous treatise "On the elevated", I The century attributed to Longin) and especially with the theory of tragic, for which the internal conflict of Paphos is important. Another I. Rinkelman in the "History of Ancientness Art" (1763), noting in Laocoon "The struggle of intellect with the suffering of physical nature", concluded: "So, with every Paphos, the physical feeling should be attracted by suffering, and the spirit of freedom."

From this thesis proceeded by F.Shiller ("On pathetic", 1793), who wrote that Paphos involves simultaneously an image of a deep suffering and the fight against it, testifying to the moral height and freedom of the tragic hero. In the German classical aesthetics, the understanding of pathos as a totality of certain passions and impulses that make up the content of human behavior was formulated. According to F.Rideli, which included in his "theory of fine arts and sciences" extensive section "On Paphos" (Riedel Fj Theorie Der Schonen Kunste und Wissenschaften. Neue auflage, Wien; Jena, 1774), Paphos make up: the desire for perfection, love instinct , Hope, surprise, desire for pleasure. A similar tendency of the interpretation of Paphos turned out to be very significant for aesthetics G.V.F. Geegel, who understood the "substantial" under it, "a significant, reasonable content that is present in the human" I ", filling and penetrating the whole soul" (Love Antagon to Brother In the tragedy of Sofokla, Love Romeo and Juliet in the tragedy of W. Waxpiera).

V.G. Belinsky considered Paphos as a "passion idea", which the poet "contemplates ... not mind, not reason, not a feeling ... But I'm all the complete and the integrity of my moral being." Thus, Belinsky moved the terminological designation of the pathos from the artistic character to the artistic activity itself and applied this concept for the characteristic of the work or creativity of the writer as a whole: Paphos "Dead Souls" (1842) N.V.Gogol is Humor, contemplating life "Through the prominent laughter "And" Tears invisible to him "; Paphos of creativity A.S. Pushkin - artistry and artisticity. In the Russian literary consciousness of the 19th century, Aristotelian, and the Gegelian interpretations of Paphos were present, but Belinsky's interpretation of the predominant influence. The concept (as well as in Western European aesthetics) of the "empty pathos" is also told - i.e. Expanded, internally unjustified rhetoricity. In modern literary studies the term "Paphos" lost strict certainty, sometimes approaching the meaning with the concepts of "tragic", "high", sometimes with the interpretation of Belinsky, sometimes (in a negative or ironic aspect) - with the concept of "empty pathos."

In everyday speech, we often hear the word "pathos" and various expressions with this word. Intuitively understand what it means can, but let's still understand what Paphos is.

The current definition of the word "pathos"

Paphos is a way of behavior, which is characterized by a hopping, the game in the public. This definition uses most young people when characterizing a pathoral person.

In fact, this word has a wider and in-depth. For example, what is Paphos in the literature?

Paphos in the literature

Paphos (translated from Greek - passion, inspiration) is the rhetorical category that Aristotle has developed. It is designed to transfer sublime emotions, with a supervision, passionate and inspired. Paphos can be bolden by the "soul of the work", because he permeates it and accompanies throughout the story. It affects the consciousness of the reader and forms his attitude towards the main characters, forces sympathy.

Types of pathos in literature

Works in the literature are disclosed in different ways due to different types of pathos:

• Heroic Paphos approves the Majesty of the Main Hero or a whole team, the actions of which are aimed at implementing humanistic goals. Most often it is the struggle for the independence of their people, for his right, for peace. We meet in such works as "the word about the regiment of Igor", "Taras Bulba" N. Gogol. The tragic pathos depicts deep and conflicting experiences of the heroes, the desire of the high ideal and the impossibility of its achievement (Poem A. Blok "Twelve").
• Dramatic pathos is distinguished by the lack of fundamental confrontation of man by externally circumstances, the experiences of the heroes are individual and hidden in them ("Red and Black" Standal, "Father Gorio" Balzak).
• Romantic pathos approves man's desire to an emotionally universal ideal. For example, "Borodino" Lermontov or "Aelita" Tolstoy.
• Sentimental pathos is close to romantic, but the family-household sphere of manifestation of the feelings of heroes ("suffering a young verteter" Goethe, "Mu-Mu Turgenev).
• Separately, we highlight what humanistic pathos is: this is a statement of humanistic ideals of humanity, the elevation of them. We can meet in such works as "Iliad" of Homer, "Vityaz in Tiger Shkura" Rustaveli, Schinel Gogol and MN. Dr.

Pafos is closely connected with the idea (Greek. Pathos - feeling, passion) - inspiration, passionate experience of the mental lift caused by the idea or event. In Pafos, the thought and feeling make up a single whole. Aristotle under Paphos understood the passion that encourages the writing of the work. In Belinsky, Paphos is a "idea - passion." "From here," Takkchenko notes, "conceptual tautology takes his beginning: the idea is determined through pathos, and Paphos - through the idea. The apogee of the first essence of the concept of Paphos can be considered the approval according to which all types of pathos are created by the contradictions of social characters that writers Comprehensive on the basis of ideological positions. These positions include the partialness of public thinking of writers and the conditioned classiness of their worldview. " A. Tkachenko believes that the authors of the textbook "Introduction to literary criticism" edited by G. Pospelov, calling such types of pathos as heroic, dramatic, tragic, satirical, humorous, sentimental, romantic, do not comply with uniform classification criteria. Dramatic, tragic, satyric is associated with genres, and sentimental and romantic - with literary directions. Pafos, according to A. Tkachenko, is excessive rhetoric, theatricality. It proposes to use the term "tonality". The view of the tonality is the patient. In addition to the pathetic tonality, lyric with such subspecies as sentimentality, romanticism, humorous, melancholic is; dramatic with tragic, satirical, sarcastic, sentimental, romantic subspecies; Epic with subspecies: heroic, descriptive, fantastic.

Each type of tonality has its shades. So, in lyrics, the tonality may be nostalgic, melancholic, sad. Positive emotions are associated with major tonality. According to A. Tkachenko, Paphos is more rhetorical, deliberate than tonality.

Heroic Paphos

The subject of heroic pathos is the heroic of the reality itself - the activities of people who overcome the element of nature are struggling with the reactionary forces of society, defend freedom and independence of the Fatherland. Heroic occupies an important place in the mythology of ancient Greece, where, along with the images of the gods, images of heroes act, which carry out majestic exploits, causing admiration and the desire to imitate them. These are Achilles, Patrole, Hector from the "Iliad" of Homer, the heroes of the myths of Prometheus, Hercules, Perseus.

Italian philosopher D. Vico in the work "The foundations of the new science on the general nature of Nations wrote that heroism is characterized only for the initial state of development of humanity -" age of heroes ". In his opinion, each people take three stages - theocratic, aristocratic and democratic. First The stage is responsible for "the age of the gods", this is the period when people connect their story with mythology, representing that they manage the gods. The third stage - "age of people". Between the "age of the gods" and "age of people" is "the age of heroes", which They reign in the aristocratic republics. Vico believed that these heroes are coarse, wild, low-cultural, cruel, with unlimited passions.

According to Hegel, the heroic provides free self-determination of the individual, is not subject to the laws. The general tasks of the hero performs as their personal. Hegel believed that heroic activity was inherent in people who live in the "age of heroes", that is, in a good period. When the state reaches a significant development, it comes, according to him, "prosaic ordered reality", "each individual receives only a certain and limited part in the work of a whole" and "the state as a whole ... cannot be trusted by arbitrariness, strength, courage, courage and understanding a separate person. "

Hegel was right that the "age of heroes" was the historical stage of the development of national states, when heroism could be detected directly and freely. But with the emergence of states, heroism, contrary to the statement of the GES, does not disappear, but changes its character, becomes aware and morally responsible. So, Count Roland "Songs about Roland" dies for the freedom of native France. However, the state may not only be progressive, but also a reaction force that impedes national development, hence the need for the anti-state activities of progressive people aimed against the suspended power. This struggle requires significant heroic efforts.

Starting from the Renaissance, the national-historical heroic is closely related to the formation of feudal states, and subsequently - bourgeois nations.

In the sociology of the 20th century there are two opposite trends: one consists of a heroic identity, the second rejects the possibility of a heroic personality in modern society. The Englishman Relen wrote that the heroes of the product of social myths. According to the American sociologist Daniela Burstin, today the hero turns into a celebrity, which is the antipode of the hero.

Each era characterizes its type of heroism: either the liberation impulse, or self-sacrifice, or just sacrifice in the name of universal values. Heroic can manifest itself through a beautiful, elevated, tragic and comic.

Paphos drama

Like the heroic, drama will generate contradictions of life. Dramaticism occurs when there is a high desire of people, and sometimes life threatens defeat or death. Dramatic events and situations may be socially natural and random, but only the first are themes of works. Hegel noted that art is interested primarily by the socio-historical nature of the lifetime of individuals depicted.

When people lead acute political struggle, become victims of repression, consciously prepare for liberation wars, there are deep drama of actions and experiences of people. The writer can sympathize with the characters who found themselves in the dramatic situation, such drama is ideologically affiring Paphos. It can and condemn the characters that are guilty of the emergence of a dramatic state. The tragedy of Eschil "Persians" depicts the defeat of the Persian fleet in the conciliatory war against the Greeks. For Eschil and the ancient Greece of experience in the Persians of dramatic events, the act of condemnation of the enemy, who encroached the freedom of the Greeks. Paphos of drama is imbued with the word about the regiment of Igor. On the example of Igor, the author of the work shows that princely crossbursions lead to the sad consequences.

In the story of M. Kotsjubinsky "Fata Morgana", in the novel Balzaka "Father Gorio" Dramaticism arises due to social inequality. The drama of events and experiences may have ideologically affiring character. Such drama is characterized by the "Song of Roland", which depicts the struggle of the Frankki troops of Karl V with Sarcins and the death of Roland and Oliver in Ronsilvansky Gorge.

Often drama characterize personal relationships between people. Heroine Roman L. Tolstoy "Anna Karenina", which did not undergo happiness in family life, first recognized him with Vronsky, left her husband, broke with a hypocritical world, took on the entire cargo of the class Vignannictva, but did not stand it and committed suicide.

Sentimentality

Sentimentality as pathos needs to be distinguished from sentimentalism as directions. Theorist of German Sentimentalism F. Schiller in the article

"On naive and sentimental poetry" (1796), the founder of sentimental poetry called the Roman poet Horace, extols the "quiet luxury" in his Tibur. F. Schiller calls Horace by the post of "enlightened and spoiled era." Schiller wrote that sentimentality arose when naive life with its moral integrity and purity went into the past or viscosity to the periphery of social relations. For the emergence of the sentimental worldview, it was necessary that there were dissatisfaction with his shortcomings in society and that his progressive forces were pleasure to be a pursuit of a moral and holistic life that goes into the past.

G. Pospelov believes that talking about the sentimental pathos of the works of Horace, the "bucolic" Vergil, Idilly Foocrit, the story of the foal "Daphnis and Chloe" is not worth it, because they do not have "the emotional reflection of the characters themselves and even more are their authors." The first glimpses of sentimentality, he finds in the works of Provencal Troubadurov (XII century). Pafos sentimentality brightly manifested itself in the literature of the XVIII century. Her hero was simple, a modest, sincere person, retained the remnants of patriarchal. This hero became the subject of artistic reflection.

The origins of a sentimental feeling in Ukrainian literature reach the XVII-XVIII centuries, they originate in the baroque era. Sentimentalist writers penetrate sympathy for heroes that cannot find harmony in real life. They are far from socio-political conflicts, but close to nature, their sensitivity comes from the Heart. For the heroes of I. Kotlyarevsky ("Natalka Poltavka"), Kvitka-basicoenko, E. Grebelki ("Tchaikovsky") are characterized by the moral beliefs, the desire to overcome their suffering, internal staicism.

The formation of Ukrainian sentimentalism was a noticeable influence of the cordinetrical character of Ukrainian philosophy. "Unlike the Western European philosophical tradition, where the" heart "never had an ontological aspect," says I. Limborsky - in the Ukrainian thinkers, it has been in the Ukrainian thinkers with the source of all feelings and the tool of knowledge to be unreserved " .

In the textbook "Introduction to literary studies" ed. Mr. Pospelova has such a definition of sentimental pathos: "This is a mental attitude caused by the awareness of morality in the characters of people socially humiliated or related to an immoral privilege medium."

The conditions for the emergence of sentimental pathos exist in the literature of the XIX-XX centuries. A bright example is the story of Dostoevsky "Poor People". Her hero official of the girl is a poor, a small person who despises employees for only the paper. But he is proud that he earns a piece of bread, considers himself a respectful citizen, highly appreciates his "ambitions", his reputation, is ready to defend himself from humiliation.

Paphos sentimentality in the works of Y. Fedkovich (Lyuba-Paguba), P. Grabovsky ("seamstress").

The ability to emotional reflection contributed to the emergence of not only sentimentality, but also romance.

Romance

Sentimentality is the reflection of the dignity, the troopanity caused by last life with its simplicity, moral perfection of relations and experiences. Romance is a reflective passion, addressed to the sublime, to the ideal. The word "romantic" (Franz. Romantique) first appeared in English poetry and criticism in the middle of the XVIII century. (Thomson, Collins) to determine the pathos of creativity.

Romance is most often associated with the idea of \u200b\u200bnational independence, civil liberties, equality and fraternity of peoples, this is a high spirits.

A. Veselovsky called Romantic Writers with enthusiasts. Romance is the enthusiasm of emotional aspirations and feelings. She appeared in the Middle Ages era, the works of the legendary knights, Lyric Lingerie Petrarca, Roman Cervantes "Don Quixote", the tragedy of Shakespeare "Romeo and Juliet". Romantic pathos is present in the works of sentimentalists, romantics, realists and neoromantics.

Y. Kuznetsov determines the romantic pathos as "a dreamily elevated mood, which is inherent in the outbreak of feelings, the aggravated experience of unusual events, the process of activity, opposed ordinaryness."

Humor and satire

Humor (Lat. Humor - moisture) is a reflection of a funny, fun in life phenomena and character, the manifestation of an optimistic, cheerful attitude to reality, the celebration of healthy forces over the backward, unpromising. Humor can be soft, benevolent, sad, sarcastic, picky, vulgar. "The object of humor, - by observing Yu. Kuznetsov, is not a holistic phenomenon, an object or face, and some errors in general positive phenomena, inadequate specific situation human actions ...

Humor, including contradictions and contrasts of life, is concurred primarily by the metaphor, and not by comparison, which allows you to disclose an elevated in a limited, small fact, so it often becomes as critical as an optimistic color. "

Humor is mainly a manifestation of an optimistic, humanistic attitude to reality, the triumph of healthy forces over the bladder, unpromising. According to Voltaire, satire must be barbed and at the same time cheerful. The sting of satire is directed against socially significant ugly facts. The satire object is a socio-comic, dangerous for society and a person, the object of humor - elementary-comic. Laughter in satire and humor has different tonality, different levels of social and artistic understanding of life phenomena. In one product, humorous and satirical tonality coexist. In humor and satire can be combined with such types of comic, as wit, irony, sarcasm, and methods such as pathos, pun, cartoon, parody, joke, hyperbole.